After Revival of Ancient Greek Tragedy, Iphigenia Can Finally Rest

                                              Written by Theresa Z.
                                                         (2005)
    The sultry, sensuous Aphrodite and the valiant, heroic Hercules are characters that you will not encounter in this daring revival of Euripides’ Iphigenia at Aulis at Columbia University-Barnard College (April 16, 2005). Instead of hailing the divinities of the ancient Greek world, the inspired students of Barnard, under the direction of Alex Zachary, turned to ancient Greek speaking armadillos and deer to capture the essence of Euripides’ tragedy – a risky feat that distinguishes this performance from those that precede it.

     Who is Iphigenia, you ask? Well, some devoted scholars of Euripides might say: “The daughter that was sacrificed so that her father could win a war.” I beg to disagree. If one were to condense the heartache, the deliberation, the cruelty, the betrayal, the ambition, and the compassion into a single sentence, that statement would be the one that I would make. But you simply cannot. Iphigenia’s cursed soul, hovering above the waters of Aulis, cries out for justice and her words need to be recognized. Be certain to hear them- the wisdom, although subtle, is not lost on an audience even after all these years.

     The complicated nature of a Greek tragedy allows our hearts to weave a convoluted web of loyalty, love and loathe like no other can. This quality is intrinsic to the deliverance of a catharsis at the conclusion of the play. Played by Tom Quick, Agamemnon, the wretched father who yielded to the pressures of King Menelaos, is one that the viewer expects to abhor. What disgust I wanted to feel! What hate I wanted to spew upon the man who was greedy enough to sacrifice his own blood for a victory that would not outlast his guilt! To my surprise, however, I found myself rather empathetic. He was frail and languid; his eyes were sunken in and he clung to himself as if he were unsure of his own existence. His hair hung limp against his jutting cheekbones, and he spoke with a desperation that resembled hysteria of a severe kind. Certainly, he was no bold military general, but an ambivalent man whose humanity was far more evident than his ambition.

     As more characters wove themselves into this Greek tapestry, the impact of Iphigenia’s sacrifice became more and more evident. Klytaimnestra, Iphigenia’s mother, became Agamemnon’s conscience as the family war intensified. She arched herself against the glass barrier in such a desperate manner that it seemed to bend sympathetically for her sake. She shouted with such fervor that even Agamemnon cowered at her words. She was the reason and he the madness. Her performance was simply remarkable.

     Iphigenia was surprisingly exuberant. The director did well in choosing the perfect face for the part – Elizabeth Sacks was mesmerizing from beginning to end. She was a moving blend of melodious, heartbreaking and modern, and she did not fail to take the performance to new heights. Her position in the center of the stage was a true representation of her role as the piece that rendered the entire masterpiece complete.

     Before the viewing of this spectacle, the audience was duly advised to observe the way the characters interacted with each other. Glass panels were placed in a pyramidal pattern on the darkened stage, and as characters entered, they took their positions behind the glass, locked themselves in, and spoke from where they stood. Even fiery outbursts and emotional strain could not break their chains, signifying a lack of communication and even a web of lies and deceit within the family.

     In choosing the costumes for Iphigenia and the cast, the art director acted on an interesting impulse. Emmelyn Butterfield-Rosen of Barnard College chose to paint a picture of a barren desert where the Chorus members were clothed in fur and shells, faintly resembling a disturbing blend of armadillo and mouse. As for Iphigenia, the most controversial character of all, Butterfield-Rosen decided to portray her as a deer with her tail tucked between her legs; a conscious choice that paid tribute to a conclusion believed to have been written by Euripides’ son which posited that divine intervention rescued Iphigenia before her unnatural death. Instead of slaying his innocent daughter at Aulis, Agamemnon is said to have slain a deer – an argument that was formulated to appease Klytaimnestra but is now widely accepted as the final outcome of the intended sacrifice.

The Olympic Games Finally Come Home

                                        Written by Nicholas M.

                                                    (2004)

     Hellenic pride flowed through my veins as I personally witnessed the return of the Olympic Games to Greece this past August 2004. Coined by many in the international press as a “spectacular event," the organizers wove a tapestry that paid homage to Greece’s cultural and historical contributions while uniting the world in peace and brotherhood.

     The Opening Ceremony was a remarkable display of artistry that began with traditional Greek rhythms of “zeimbekiko” performed by hundreds of musicians. The presentations that followed included the appearance of a huge Cycladic statue which came apart in the air and landed into an artificial body of water, a flying Eros, geometric images formed by laser lights as well as a poetry recitation taken from George Seferis’ Mythistorema,- a piece that speaks about the burden the Greeks bear through their heritage. The beautiful melodies of composer Manos Hatzidakis also permeated the stadium as a young boy in a paper boat emerged and waved a Greek flag. Very interesting and original was the “parade” of performers representing the different periods in ancient and modern Greek history. Figures such as Alexander the Great, the Greek revolutionary war hero Kolokotronis and Byzantine emperors served to enlighten the spectators about Greece’s glorious historical and artistic heritage. At the end of the ceremony, the Olympic cauldron “bowed” to Nikos Kaklamanakis, the Greek gold medalist who had been given the honor of torchbearer.

     Among the athletic events I attended, I was most impressed by the competitions in swimming as well as track and field. The endurance and skill demonstrated by athletes such as America’s Michael Phelps was simply awesome. It was also a very successful year for the Greeks in these particular events. My heart pounded as I watched Greece’s Fani Halkia race to the finish line in the women’s 400-meter hurdles.

     What impressed me the most, however, was the show of brotherhood and friendship among the visitors. During the events, people cheered for each other while many posed for pictures together, smiling as if they had found a long lost friend. The ancient Greek poet Pindar was absolutely right when he said, “The supreme games of which to sing are those of Olympia.” 

French Paintings Increase Appreciation for The Iliad and The Odyssey

                                    Written by Marni H.
                                             (2005)
     It is well known that The Iliad and The Odyssey are literary masterpieces that will be forever read and analyzed by experts and students alike. Less widespread is the knowledge of the profound impact Homer has had on another art form –French painting and sculpture produced by artists of the prestigious Ecole des Beaux-Arts, - Europe’s leading art school during the seventeenth through the nineteenth centuries.

     A current exhibition at the Dahesh Museum of Art entitled The Legacy of Homer: Four Centuries of Art from the Ecole Nationale Superieure des Beaux-Arts, Paris expresses the influence of the Homeric epics on French artists through one hundred thirty paintings, sculptures, drawings, and prints.

     The immense detail in all the works featured in this exhibit adds to the intrigue of these magnificent paintings and sculptures. In Andromache Mourning Hector (1783) by Jacques Louis-David, the epic story of the Iliad is carved into the very bed frame on which Hector lies. Equally striking in this painting is the grandiose portrayal of Hector despite, according to the story, his body having been dragged through the streets by Achilles’ chariot.

     In Gustave Boulanger’s Ulysses Recognized by Eurycleia (1818), this touching although seemingly inconvenient moment is painted with such detail that the scar that identifies Odysseus is visible to those who know where to look (or have a museum guide to tell them). Boulanger’s portrayal of Athena staring out the window, bored because her divine knowledge relieves her from the suspense felt by others, and the colorful column and floor, not yet faded to the white color of the ancient remains of today, make the painting even more remarkable.

     Not only is the level of skill in the works amazing, but some of them deliver an appreciated dose of humor as well. Visitors can flip through nineteen framed lithographs which comprise a series entitled Ancient History by Honore Daumier.The lithographs are caricatures of scenes and characters from the Iliad and the Odyssey and practically serve as parodies of the rest of the art in this exhibit. Among these works are The Abduction of Helen showing a hefty Helen carrying off Paris as he lazily smokes a cigarette; Ulysses and Penelope in which Odysseus spends his first night with his wife after being away for so long; and Penelope’s Nights, portraying an exhausted Penelope at her loom with a comical sketch of Odysseus on the wall behind her.

     After viewing the exhibit, it is evident how important Homer and his works were to all forms of art. The visitors’ thoughts are overwhelmed by feelings of respect and appreciation for both the artists and the timeless epics that fueled their works.

Heroes: Mortals and Myths in Ancient Greece

                             Written by Marina L.
                                       (2012)

     The ancient Greeks worshipped their heroes in ways dissimilar to the ways we worship our heroes today. The criteria used to depict their heroes necessitated not perfection, but excellence. The Alexander S. Onassis Cultural Center, with its reputation of didactic and intriguing exhibitions, continues to inspire us with the inauguration of its latest exhibition: Heroes: Mortals and Myths in Ancient Greece. This exceptional display of art exposes the ancient Greek meaning of the word “hero” which at the time did not require righteousness or morality, but instead "was a product of the imagination of many endowed storytellers and poets."

      The exhibition begins with Odysseus, the legendary hero of Homer’s epic poem The Odyssey, and continues with Achilles, the hero of the Trojan War, and the renowned demigod, Hercules. An unsuspected hero, Helen of Troy, is also presented in this exhibition. Various vases and sculptures depict the valiant acts of these four heroes and tell the story of their glory and achievements.

      Highlights of the exhibition include a bust of a humble-looking Odysseus, looking exhausted by his long, hectic journey home. This contrasts with the proud bust of Polyphemus, the one-eyed Cyclops that kept Odysseus captive. A large wine vase illustrates the story of Odysseus escaping Cyclops’ cave by hiding underneath the bellies of sheep. Another highlight of the exhibition was an amphora portraying Achilles and Ajax playing a board game. Coins from the time of Alexander the Great were also portrayed in this exhibition, as well as a marble sculpture of the torso of an athlete, a bronze Corinthian helmet, a vase depicting Helen and Menelaus and a sculpture of various scenes from the Trojan War.

      The method in which this exhibition was presented was very intellectual and perceptibly well thought out. Each artifact and the story it told led up to the next. The tour guide directed us through the exhibition was well conversant of the topic of hand and talked with much zeal and enthusiasm.  

      My personal favorite piece was a wine bowl that displayed a picture of a dolphin. This is because after the ancient Greeks drank so much wine they would no longer be sober and the dolphin would appear to be moving, as if it was swimming in the ocean! Moreover, I found it interesting that ancient Greek athletes would win an enormous amount of olive oil as a reward for their victory.

I strongly advise the public to view this exhibition as it will be the experience of a lifetime. The event was a great success, displaying remarkable pieces that were both pleasurable and instructive. The knowledge one will gain after viewing this exhibition will be immense, and it is very likely that one will see a piece that will captivate and intrigue them and stay with them for a long time.

Greek Philosopher Mesmerizes Bronx Youth

                                      Written by Evelyn V.
                                                 (2004)
     The special presentation of Plato’s The Apology of Socrates at The Bronx High School of Science on March 23, 2004 was riveting and deeply thought provoking.

     Working in conjunction with the school’s Modern Greek language program Project Hellas (funded by the Alexander S. Onassis Public Benefit Foundation), the performance is the artistic product of several distinguished individuals: Mr.Yannis Simonides, Emmy Award winning documentary producer, actor, and Founding Director of the Greek Theater of New York, Mr. Loukas Skipitaris, director and Broadway veteran and Ms.Caryn Heilman, a musician and vocalist.

     The Apology of Socrates, written by Plato in 399 B.C. to give voice to the “real” Socrates, depicts his defense against his accusers. The word “apology,” as used by Plato, means a formal statement of justice or defense. Accused of impiety and corruption of youth, Socrates was ultimately found guilty, 280-221, by a jury of 501 male Athenians.

     Delivering an amazing solo performance, Simonides enters the stage wearing a mask of Socrates while chanting in Ancient Greek. As he begins his monologue, he dramatically removes the mask, bringing the audience to a more contemporary stage. He defends himself by stating, “He does not get paid for his counsel, but simply sees it as his duty to remind Athenians to be virtuous.” He speaks as though stating the obvious, providing strong reasoning to uphold his beliefs.

     In the second half of the performance, Socrates reacts to the guilty verdict. The gong begins to sound, strong and steady, as does Socrates’ voice and the meaning behind his words. He does not plead with the jury to let him live, but rather tells them “they will never find another like him.” He also does not waver as the gong sounds and he discovers that he is sentenced to death. The gong suddenly goes silent, and Simonides’ voice stretches out over the audience. He says that “death is nothing to fear; in fact it might be pleasant…the possibility of speaking with great minds such as Homer and Orpheus would be a great honor.”

     As Socrates exits the stage, his clear voice rings out, wishing the members of the audience farewell with his statement, “I to my death, and you to your lives. Which one of us is going to a better place, no one knows, except the gods.”

     Simonides’ outstanding presentation has all the elements of an amazing work of art. It captures the mind of the audience and grips its every thought. It is dramatic with just the right hint of comedy, making the members of the audience feel as if they were the actual jury. The performance leaves us speculating about the way we should view life and, to some extent, takes away the fear of death.

Greek Beats Move Feet

                                                    Written by Eleni H.
                                                            (2005)
     On January 20, 2005, I had the pleasure of attending a Greek folk dance performance at the Queens Library as part of the NYC Public Library Hellenic Festival. This lively and beautiful presentation brought great joy to the members of the audience, both young and old. It was evident that much love, dedication, and experience were involved in the preparation of this event.

     Dance has always held great significance for the Greek people. In ancient times, dance, song, and music were all integral parts of theater and life. Today, Greeks dance for many reasons: as a means of celebration, as a form of self-expression, and as ritualistic drama. In effect, dance is just as important to the Greeks today as it was in ancient times.

     At the beginning of the program, the coordinator enlightened the audience on the history of Greek folk dance. She stated that Greek folk dances play an important role in the expression of human feelings and that “Plato and Socrates believed that all people should dance.” While references to dance exist in various sources from the ancient and Byzantine world, there are also drawings, paintings, and small statues, which depict dancers and musicians, and we can learn much by studying them.

     There are two categories of Greek folk dances, one that involves springing and leaping and another which is called sirtos and involves the dragging of feet. All dances start with the right foot and move counter clockwise. In most cases, men lead the dance, more specifically the oldest man. The women’s dances are typically slow whereas men’s dances are showy and the lead dancer has the opportunity to express himself through dance.

     Two dances which I enjoyed were zonaradikos and tsirigotikos. In zonaradikos, dancers hold hands in a basket weave formation and alternate between stepping and lifting a foot. The dancers periodically stomp and close the circle while shouting. In tsirigotikos, the dancers alternate between two steps and two kicks in both directions. This was a very lively dance that excited the audience and made people clap and tap their feet. One could not help but notice the nostalgia in the eyes of the older audience members.

     The presentation at the Queens Library was an enjoyable and educational experience. It is obvious that Greek folk dancing, communal and inclusive by nature, is intrinsically tied to the history of the Greek people. While there are many common characteristics of traditional Hellenic folk dances, variations developed over the years due to history, geography, and climatic conditions. Musical instruments and costumes also enhance and add to our understanding of the development of this most beautiful and cherished art form.